![]() ![]() This confluence of the disciplines-like the ideal of the “Renaissance man” (or woman) who masters all fields–has become only a distant memory in intellectual history. One of my personal favorites, the salonnière Emilie (Marquise) du Châtelet, was not only highly cultivated, but also a world-class mathematician and physicist who conducted her own scientific experiments-such as suspending wooden spheres from rafters–to test Newton’s theories. In another, a child pops up unexpectedly from underneath the train tracks in yet another, The Birth of Music, a violin emerges from cupped hands in a wheat field.Įven as late as the Enlightenment, the French philosophes-particularly Condorcet, Condillac and Buffon–could hope to be at the forefront of scientific discoveries and be well-versed in literature, art and philosophy. For instance, in one of Luczywo’s photographs, the child is in the dog house and the dog stands outside of it. The world is topsy turvy, as it were, and nothing conforms to our expectations. ![]() Like Escher does in some of his artwork, most notably Waterfall Up and Down, Luczywo stages provocative inversions and displacements, where objects, animals and human beings aren’t where we’d expect them to be. What you see reflected in this (or any) image is largely up to you as a viewer. But, of course, photography, like all art, is open-ended, not limited to any given interpretation. Personally, when I see this image it makes me think of the following implication: if we can’t live and appreciate each of these stages of our daily lives in the present, we will lose them forever, except in the images of our memories and art. Photography attempts to immortalize a moment–and an important stage of our lives–that is, in fact, very fleeting. The children will grow and move on to create their own lives the parents will age. No matter how much photography may freeze this moment in time, time will flow on. Luczywo catches a moment in the life of a family reflected in the water, with one of the children holding a large clock. In the photograph The Great Migration (see image at the top of the page), for example, we not only see the physical reflections of leaves in the pond in a manner similar to Escher’s art, but also a metaphysical reflection on the passage of time. Escher, but gives them a metaphysical twist. "It belongs to our collective imagination much more than we can even think about." Ĭlick through for the eight Escher works we are most excited about.Sebastian Luczywo’s photography sets into play tessellation patterns, reminiscent of the art of M. "Don't just think about the name, think about the image of Escher," Gaddi adds. Most of us have crossed paths with Escher's works on postage stamps, T-shirts, or even an episode of The Simpsons. Think the cover of Pink Floyd's On the Run, the impossible staircases of Escher's Relativity, first printed in 1953. The show's seven sections conclude with "Eschermania," which shows bits of Escher's work that have seeped, perhaps unknowingly to many consumers, into popular culture. Arthemisia’s Sergio Gaddi says, "He's interested in the structure of the world, and that's architecture." Escher's real focus was geometry, toying with the physical landscape, while his background in graphic design sparked an interest in where optical illusions and architecture meet. ![]() Though some might mistake Escher for a psychedelic dreamer type (the hippie movement co-opted his more hallucinatory pieces), he was grounded in reality. Escher Company and Federico Giudiceandrea, a longtime Escher collector. ![]() Presented by Italian production company Arthemisia-their first project Stateside- ESCHER is curated by Mark Veldhuysen of the M.C. The Exhibition & Experience, a show celebrating the growth and evolution of the Dutch artist throughout his career. Escher-best known for his mind-bending sketches and tessellations-will take over Brooklyn's Industry City for ESCHER. Starting June 8, some of Brooklyn's most interesting architecture will be found indoors. ![]()
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